The Gendered Experience of Music

Sexual violence at live music events: Experiences, responses and prevention

“…Some authors have provided insights into misogyny within certain musical cultures (e.g. Hill, 2016; Leonard, 2007; Reynolds and Press, 1996), while some have focused on the kinds of sexism endured by female musicians (e.g. Reddington, 2007) or have more generally shown the links between music and violence (Johnson and Cloonan, 2009).…”

Frequent music festival attendance: festival fandom and career development

“…Fandom is both personal and collective (Duffett, 2014). At the personal level, emotions and identity building are the most important aspects (Hill, 2016), whereas the collective level embodies social (shared) identity, demonstrated in a sense of unity and belonging with other fans (Cavicchi, 1998; Reysen et al , 2017). Identification with other fans leads to social connections with them (Duffett, 2013), which in turn is related to well-being (Reysen et al , 2017; see also Packer and Ballantyne, 2011).…”

“…In career development, the most important aspects are changed behavior and motivation, sense of community with others and skills development (see Getz, 2008; Getz and McConnell, 2011; Mackellar, 2009). Fandom, on the other hand, includes a personal relationship with the fan interest, a collective identity with other fans (see Cavicchi, 1998; Duffett, 2013; Hill, 2016), acquisition of knowledge about the fan interest, as well as a specific code of conduct within the fan community (Jones, 2000).…”

“…This makes it easy to find new friends – or bridge in Quinn and Wilks' conceptualization (2016) – as social interaction with strangers is more acceptable than in the surrounding society. The collective identity with other fans (see Cavicchi, 1998; Duffett, 2013; Hill, 2016), on the other hand, facilitates social interactions with strangers who have similar values and interests and with whom the sense of belonging is felt (Rihova et al , 2015). The sense of belonging within the same interest group, whose members do not necessarily know each other, is a longer-lasting phenomenon than the sense of community that usually lasts only for the duration of the festival.…”

“…Music-related fandom has been previously investigated in relation to artists (Cavicchi, 1998; Henry and Caldwell, 2007; Vroomen, 2002) and specific musical genres (Hill, 2016; Sinclair and Dolan, 2015), but not so much in relation to music festivals in general (exceptions include Jones, 2015). Leisure career studies, on the other hand, concentrate heavily on sports events (Buning and Gibson, 2015; Getz and Patterson, 2013) as if career development in a hobby would require a measurable activity.…”